Preview image from "XOMIA" (2015) which debuts March 27th at Ellis King

The latest in a series of interviews with artists who have developed a significant body of work engaged (in its process, or in the issues it raises) with technology. See the full list of Artist Profiles here.

Your work functions on two different, related, levels. The first is the macro, or the meta—the way that images or systems are linked together, a concern that is present throughout your practice. The second is the micro—for example, tracing visual similarities between survival tools and credit card designs or reptile claws and the Three Mobile logo in Soft Mobility (2014-ongoing). Your practice is as much about workflows as individual works, which allows you and your viewer to trace connections between these macro and micro levels. What prompted you to start thinking in this way?

I've been asked this a lot lately, I've been trying to figure out some moment. I can only nail down a rough timeline that's still running. Too much content? Which led to too many tagging tools and algorithms? Too many aggregational platforms? Too much curation? Too many blogs? Too many new projects? Too much art direction? Tropes and genres just became super easy to notice, reveal, nudge, merge, produce, and reproduce. Also to deconstruct. Conceptual and cultural tropes as much as the nuts and bolts stuff. Art became about accounts and feeds just like music did. Images became meta images. Objects became meta images. Everything could be linked. Everything was part of a stream, then a mass. Everything became fractalized. Tags became crucially important. You could make other people's art, you could predict what everyone was going to post next, faster than they could post it. Your ideas and personalities became brands instantly. You started viewing everything in situ with similar and related content around it, which in art always included other work that was copying it or at least was uncomfortably similar. It also included products, artifacts, architecture, and selfies. The line between the research, the idea, the art product and the resulting trend and community blurred. One image wasn't enough. The timeline from thought to post diminished. All content sources became equalized. Resources were scarce. Memes dominated. People had their first feelings of AI. It's a story for another time.

The poetry film Was Being Moved? (2011) takes the form of a series of postcards to a "Mr. Parade," interspersed with vignettes of public rituals and street life in Chicago, New York City, and Taiwan. It features music composed and played by Taiwanese musician Yujun Wang.

Ye Mimi is a Taiwanese poet and filmmaker. Having earned an MFA in creative writing at Dong Hwa University and an MFA in film at the School of the Art Institute of Chicago, she is the author of two volumes of poetry and has exhibited several of her poetry films internationally. Through collaging her words and images, she improvises a new landscape, trying to erase the border between poetry and image making. A bilingual chapbook of her poems was recently published by Anomalous Press under the title His Days Go by the Way Her Years (2013).

This work uses a script to pit two books—which address subjects known for their difficulty to master—against one another at hundreds of words per minute.

Tan Lin is the author of Lotion Bullwhip Giraffe (2000), BlipSoak01 (2003), Ambience is a Novel with a Logo (2007), Heath (Plagiarism/Outsource) (2009), and 7 Controlled Vocabularies and Obituary 2004. The Joy of Cooking (2010). His work has appeared in numerous journals including Conjunctions, Artforum, Cabinet, New York Times Book Review, Art in America, and Purple, and his video, theatrical, and LCD work has been exhibited widely. He currently teaches creative writing at New Jersey City University.

DELETIA – self portrait with no self(2015) is a seventy-plus-page epic created on the web platform NewHive that includes, among other things, an original font produced by Goring named "Hell Lobster"—a mix of Helvetica and lobster.

This is the second of six new works released as part of the online exhibition "Poetry as Practice," which considers online poetry as a bodily, social and material process. Last week, the exhibition began with Alex Turgeon's Better Homes and Gardens Revisited; it continues next week with work by Tan Lin.

Above: Lance Wakeling, still from Field Visits for Chelsea Manning (work in progress).

This Fall/Winter, Rhizome presents events, commissions, and exhibitions that offer considered illumination of contemporary digital culture, provide support for artists, and elaborate our vision for the born digital arts institution.

Rhizome Today is an experiment in ephemeral blogging: posts written and published each morning, and unpublished within a day. The latest post can always be found at http://www.rhizome.org/today.

After some discussion about the best way to wrap up each month's posts, we've decided to publish a list of topics and people covered on Today during the preceding month. Here is the index for Rhizome Today in August, 2014.

With the Frieze Art Fair now in full swing, London is undeniably where the art world is at. For those not exhausted by art fairs and panel discussions about postinternet art, we encourage you to keep up the (pun intended) pace for the 89plus marathon at the Serpentine on Friday night and all day Saturday. Curated by Ben Vickers, notable vestment-wearing participant in yesterday's "Post-Net Aesthetics" panel organized by Rhizome at the ICA, and forming a part of Hans Ulrich Obrist and Simon Castet's long-term research project of the same name, the marathon focuses on concerns facing the generation born in or after 1989—those "Younger than Rihanna," as Harry Burke put it in an article for Rhizome—who have never known a world without Tim Berners-Lee's world wide web, or with the Berlin Wall.

A diverse range of performances, talks, screenings, and installations will consider the subjectivities that have emerged in this period in history and offer speculations about the future. Notable participants include Zaha Hadid, Brad Troemel, Jake Davis aka Topiary, Hito Steyerl, Smári McCarthy (Icelandic Modern Media Initiative), Douglas Coupland, Harry Burke, and Le1F.